lunes 5 de marzo de 2012

Bolaño antes de Bolaño. Diario de una residencia en México (1971-1972)

Bolaño antes de Bolaño.  Diario de una residencia en México (1971-1972) (Catalonia, 2007)
por Jaime Quezada
Chile, 2007

En 1971-1972, el poeta chileno Jaime Quezada pasó dos años en México, DF, viviendo en la calle Samuel 27, en la colonia de Guadalupe Tepeyac, en la casa de una familia de expatriados chilenos los Bolaño-Ávalos.  Bolaño antes de Bolaño es una especie de homenaje humilde y casi fraternal al "neurótico lector" (116), escritor en ciernes, y futuro colaborador a la revista Berthe Trépat que conoció por allá, un muchacho de 18 y entonces 19 años que se llamó Roberto Bolaño.  Como es de esperarse, una de las cosas que más me gustaron en este libro de memorias corto pero placentero era la variedad de anécdotas sobre el joven "Roberto" y sobre los otros escritores establecidos que tropezaron con Quezada.  Entre mis preferidas: Juan Rulfo sobre el éxito no anticipado de su El llano en llamas y Pedro Páramo y de su audencia imaginada: "Bueno, nunca imaginé el destino de esos libros.  Los escribí para que los leyeran dos o tres amigos o, más bien, por necesidad..." (47); Quezada sobre el día que invitó a Bolaño para acompañarlo a la primera de siete conferencias que dicta Octavio Paz al Colegio de México, "una de las instituciones más prestigiosas y elitistas de la vida intelectual, académica y cultural del país", y después descubre que el adolescente se había puso a dormir  -o pretendía dormir-- sobre el hombro de Quezada: "'Me dormi toda la conferencia', me dirá después, 'Los aplausos del público me despertaron'" (54-55); Bolaño, ya un fumador que fuma un pitillo tras otro, respondiendo a una pregunta sobre sus cigarrillos preferidos (Faritos y Delicados, ambos mexicanos) con lo que le gustaría fumar después de convertirse en hincha de un cierto autor argentino: "Sí, ¡cómo quisiera yo que fueran los Gauloises!  ¡Y no tanto por dármelas de afancesado, sino por el tanto humo de Gauloises que hay en las páginas del gran Cortázar!" (59).  Otra cosa que me gustó a lo largo de la obra era la manera en que Quezada versó con las fuentes del orgullo chileno en aquel entonces  --el culto a la persona de Gabriela Mistral, que había trabajo para mejorar la vida de los pobres y los analfabetos en México, el premio Nobel de Neruda, el proceso de Allende-- inmediatamente antes de que todo se convertió en mierda en Chile.  Una lástima pues que solo se dedican tres páginas a la visita a Chile de Bolaño que ocurrió justo antes del golpe de estado de 1973.  En general, sin embargo, otra valiosa adición a los archivos bolañanos.  (Catalonia)
*
In 1971-1972, the Chilean poet Jaime Quezada spent two years in Mexico City living with fellow Chilean expats the Bolaño-Ávalos family in their home on the calle Samuel 27 in the Guadalupe Tepeyac neighborhood of the great metropolis.  The 2007 Bolaño antes de Bolaño.  Diario de una residencia en México (1971-1972) [Bolaño Before Bolaño: Diary of a Residence in Mexico, 1971-1972] is Quezada's low-key, almost family-style tribute to the "neurótico lector" ["neurotic reader"], budding writer, and future Berthe Trépat magazine contributor that he befriended there--an 18 and then 19 year old teenager named Roberto Bolaño.  As you might expect, one of the things that I most enjoyed about this slim but very pleasant read was the variety of memoirish anecdotes included on both the young "Roberto" and on the other established writers (Octavio Paz, Juan José Arreola) who crossed paths with Quezada.  Among my favorites:  Juan Rulfo on his target audience for and the unanticipated success of his El llano en llamas [The Burning Plain] and Pedro Páramo: "Bueno, nunca imaginé  el destino de esos libros.  Los escribí para que los leyeran  dos o tres amigos o, más bien, por necesidad..." ["Well, I never imagined the fate of those books.  I wrote them so that two or three of my friends could read them or, more like it, out of necessity..."] (47);  Quezada on the time that he invited Bolaño to accompany him to the first of seven lectures that Octavio Paz was giving at the Colegio de México, "una de las instituciones más prestigiosas y elitistas de la vida intelectual, académica y cultural del país" ["one of the most prestigious and elitist institutions of the intellectual, academic and cultural life of the country"], only to find that the teenager had fallen asleep--or had pretended to fall asleep--on Quezada's shoulder: "'Me dormí toda la conferencia,' me dirá después.  'Los aplausos del público me despertaron'" ["'I slept through the whole lecture,' he will tell me afterward, "the applause woke me up'"] (54-55); Bolaño, already a chainsmoker, answering a question about what type of cigarettes he smoked (the Mexican Faritos and Delicados) with what kind he wished he smoked after having been blown away by a certain Argentinean author: "Sí, ¡cómo quisiera yo que fueran los Gauloises!  ¡Y no tanto por dármelas de afrancesado, sino por el tanto humo de Gauloises que hay en las páginas de las novelas del gran Cortázar!" ["Yes, how I wish they were Gauloises!  And not so much so they could could make me seem Frenchified but because of all that Gauloises smoke in the pages of the great Cortázar's novels!"] (59).  Another thing I really enjoyed throughout was how Quezada touched on the great sources of Chilean pride in the era--Gabriela Mistral's cult of personality in Mexico, where she had worked widely with the poor and illiterate,  Neruda's Nobel prize, Allende's transition to a democratic socialism--right before everything turned to shit.  Too bad, then, that an epilogue describing Bolaño's visit to Chile in the weeks immediately prior to the 1973 coup d'état leaves so much to conjecture in what would seem to be a hurried three pages.  All in all, though, another welcome addition to the Bolaño archives.  (Catalonia)

Jaime Quezada en 2006

jueves 1 de marzo de 2012

March Foreign Film Festival and World Cinema Series Links + March/April/May Reading Starring Musil, Onetti, Pessoa and Proust

15 hours of Weimar degeneracy.  Who's buying the popcorn?

Some punk recalled my library copy of Berlin Alexanderplatz before I even had a chance to make it to the end of the fourth episode last month, but hopefully March will provide another opportunity for me to get through the remaining 10 hours of Fassbinder's opus and file a report on it for all you foreign film festival connoisseurs.  In the meantime, any/all links to movie posts for either this event or Caroline's World Cinema Series (both being held throughout the year) can be left here.  Note: Sorry, but I'm still running behind on rounding up links.

March Foreign Film Reviews
  •  The Grandfather [El abuelo] (dir. José Luis Garci, Spain, 1988; reviewer: Dwight)
  • Mooladé (dir. Sembène Ousmane, Senegal, 2004; reviewer; Caroline)
Come on, you know you want to...

March Reading
I don't like talking about my longterm reading plans much anymore since I'm usually so lousy at following through on them,* but I'd like to put in a plug for the Fernando Pessoa Book of Disquiet readalong that Amateur Reader (Tom) will be hosting at Wuthering Expectations at the end of month.  I've been looking forward to reading this Portuguese classic for a long time now, and I expect that the group read experience will be a particularly fun one given that many of the same great readers who took a crack at Bolaño's The Savage Detectives with Rise and me during our January group read will be back in force for this one.  I'll also be reading Juan Carlos Onetti's La vida breve in the first part of the month and leisurely alternating Musil's The Man without Qualities and Proust's The Guermantes Way over the next three months--at 1,770 pages for the posthumous director's cut of Musil and 595 pages for the Proust, which I foolishly set aside last year despite enjoying it and will now plan to start again from scratch at the beginning, I see no need to rush through the 2,365 pages of modernist bliss that's anticipated.  *Note to Nicole: I'll try and get back to War and Peace right after Musil, I promise!  You still give one-year extensions, right?

miércoles 29 de febrero de 2012

Corazón tan blanco

Corazón tan blanco (Debolsillo, 2010)
by Javier Marías
Spain, 1992

I have a couple of things I'd like to say about this book--in particular a rather tricky one on translation which I now think I better save for another post since I'll need some assistance with it anyway--so I hope you'll forgive me if I take the easy way out and start with a quote from the very beginning of the novel:  "No he querido saber, pero he sabido que una de las niñas, cuando ya no era niña y no hacía mucho que había regresado de su viaje de bodas, entró en el cuarto de baño, se puso frente al espejo, se abrío la blusa, se quitó al sostén y se buscó el corazón con la punta de la pistola de su propio padre, que estaba en el comedor con parte de la familia y tres invitados" ["I did not want to know but I have since come to know that one of the girls, when she wasn't a girl anymore and hadn't long been back from her honeymoon, went into the bathroom, stood in front of the mirror, unbuttoned her blouse, took off her bra and aimed her own father's gun at her heart, her father at the time was in the dining room with other members of the family and three guests"] (19 in the Spanish edition, 3 in Margaret Jull Costa's 2000 New Directions translation of A Heart So White).  "The girls," it turns out, refers to the suicide victim, who would have been the narrator's aunt had he been born yet, and the narrator's eventual mother, who married her sister's widower some time after the tragedy took place--a very messy state of affairs to say the least.   But as anyone who has read one of Marías' novels dating back to the 1989 Todas las almas [All Souls] might guess, the narrator Juan, himself just back from a honeymoon in which he was beginning to suffer from an unspecified "malestar" ["feeling of unease"] and "los presentimientos de desastre" ["unspoken presentiments of disaster"] (29 in the original, 12-13 in Jull Costa) that will later become clear are related to concerns about possible infidelity, will spend much of the rest of the novel looking back on and amplifying this comment about the secret in his father's past involving three women--two of whom perished under mysterious circumstances.  I don't want to say much more about the surface what that Corazón tan blanco is about, about how people in the narrator's life practically force him to learn about the dirty laundry in his family's past, but it's a juicy tale, told with the usual Marías verve and complexity, if maybe just the teeny tiniest letdown in its resemblance to a mini Tu rostro mañana [Your Face Tomorrow] in terms of its thematic preoccupations with telling and not telling the truth, the Shakespearean allusions to guilt and culpability and complicity, and things of that nature (of course, people who'd rather read a 300-page novel than a 1,300-page novel might not share my concerns).  However,  it's also livened up considerably by multiple truly amusing setpieces like the one where Juan tells how he met his future wife Luisa while they were serving as interpreters for two bigdeal politicians who appear to be prime ministers Felipe González and Margaret Thatcher.  Annoyed by González's incessant jangling of his keys, Juan breaches translation etiquette by pretending to have the British leader ask: "--Perdone, ¿le importaría guardar esas llaves?  Todos los ruidos me afectan mucho últimamente, se lo agradezco" ["Would you mind very much putting away those keys?  I'm terribly sensitive to noise lately.  I'd be so grateful"] (81 in the original, 63 in Jull Costa).  Then putting words in the mouth of the Spanish leader, Juan pushes his luck with a fake question to the Iron Lady herself:  "--Si puedo preguntárselo y no es demasiado atrevimiento, usted, en su vida amorosa, ¿ha obligado a alguien a quererla?" ["If you don't mind my asking and you don't think I'm being too personal, have you, in your own experience of love, ever obliged anyone to love you?" (82 in the original, 63 in Jull Costa).  Impertinent questions, with deliciously unexpected answers, all put in the service of a novel obsessed with "creative" translations and lies and concerned with the sense in which an untruth might be more revealing and less deceitful than the truth itself.  (Debolsillo)

Javier Marías

'My hands are of your colour; but I shame to wear a heart so white.'
SHAKESPEARE.

o bien:

'Mis manos son de tu color; pero me avergüenzo de llevar un corazón tan blanco.'
(Epigraph to Corazón tan blanco maddeningly absent from A Heart So White--New Directions, what's up with that?)

martes 28 de febrero de 2012

Ignacio Echevarría on the Essential Books in Spanish-Language Literature since the 1950s

Ignacio Echevarría

Ignacio Echevarría, the esteemed Spanish literary critic perhaps best known outside of Spain for having at one time been the literary executor of Roberto Bolaño's estate, put out an eye-popping little art book last year under the title Los libros esenciales de la literatura en español: narrativa de 1950 a nuestros días [The Essential Books in Spanish-Language Literature: Narrative from 1950 to the Present]: Lunwerg Editores, Barcelona and Madrid, 2011.  Although I don't know when I'll have the chance to give the thing a proper review, I thought I'd share Echevarría's selections with you now--with English translations noted in brackets where I know of them--in case any of you would like to start arguing about which books should or shouldn't have made the list!

The '50s
Juan Carlos Onetti's La vida breve [A Brief Life]
Jorge Luis Borges' La muerte y la brújula [Death and the Compass]
Camilo José Cela's La colmena [The Beehive]
Juan José Arreola's Confabulario [Confabulario and Other Inventions]
Alejo Carpentier's Los pasos perdidos [The Lost Steps]
Carmen Laforet's Siete novelas cortas
Adolfo Bioy Casares' El sueño de los héroes [Dream of Heroes]
Juan Rulfo's Pedro Páramo [Pedro Páramo]
Antonio Di Benedetto's Zama
Virgilio Piñera's Cuentos fríos [Cold Tales]
Rodolfo Walsh's Operación Masacre
José María Arguedas' Los ríos profundos [Deep Rivers]
Francisco Ayala's Muertes de perro [Death as a Way of Life]
Silvina Ocampo's La Furia

The '60s
Felisberto Hernández's La casa inundada
Ramón J. Sender's Réquiem por un campesino español [Requiem for a Spanish Peasant]
Armando López Salinas' La mina
Ernesto Sabato's Sobre héroes y tumbas [On Heroes and Tombs]
Carlos Fuentes' Aura [Aura]
Luis Martín-Santos' Tiempo de silencio [Time of Silence]
Miguel Delibes' Las ratas [Smoke on the Ground]
Julio Cortázar's Rayuela [Hopscotch]
Ignacio Aldecoa's Los pájaros de Baden-Baden
Juan Benet's Volverás a Región [Return to Región]
Gabriel García Márquez's Cien años de soledad [One Hundred Years of Solitude]
Jorge Luis Borges and Adolfo Bioy Casares' Crónicas de Bustos Domecq [Chronicles of Bustos Domecq]
Guillermo Cabrera Infante's Tres tristes tigres [Three Trapped Tigers]
José Revueltas' El apando
Osvaldo Lamborghini's El fiord

The '70s
Alfredo Bryce Echenique's Un mundo para Julius [A World for Julius: A Novel]
Juan Goytisolo's Reivindicación del conde don Julián [Count Julian]
Juan García Hortelano's El gran momento de Mary Tribune
Julio Ramón Ribeyro's La palabra del mudo
Manuel Puig's The Buenos Aires Affair [The Buenos Aires Affair]
Juan Marsé's Si te dicen que caí [The Fallen]
Augusto Roa Bastos' Yo el Supremo [I, the Supreme]
Juan Carlos Onetti's Cuentos completos
Francisco Umbral's Mortal y rosa [A Mortal Spring]
Eduardo Mendoza's La verdad sobre el caso Savolta [The Truth about the Savolta Case]
Mario Vargas Llosa's La tía Julia y el escribidor [Aunt Julia and the Scriptwriter]
Jorge Ibargüengoitia's Las muertas [The Dead Girls]
Esther Tusquets' El mismo mar de todos los veranos [The Same Sea as Every Summer]
Carmen Martín Gaite's El cuarto de atrás [The Back Room]
Juan Iturralde's Días de llamas

The '80s
Elena Garro's Andamos huyendo Lola
Juan Benet's Saúl ante Samuel
Cristina Fernández Cubas' Mi hermana Elba
Ricardo Piglia's Respiración artificial [Artificial Respiration]
Juan Eduardo Zúñiga's Largo noviembre de Madrid
Luis Goytisolo's Antagonía
José Donoso's El jardín de al lado [The Garden Next Door]
Juan José Millas' El jardín vacío
Osvaldo Soriano's Cuarteles de invierno [Winter Quarters]
Juan José Saer's El entenado [The Witness]
Camilo José Cela's Mazurca para dos muertos [Mazurka for Two Dead Men]
Alejandro Gándara's La media distancia
Álvaro del Amo's Libreto
Rafael Sánchez Ferlosio's El testimonio de Yarfoz
Antonio Muñoz Molina's Beatus Ille [A Manuscript of Ashes]
Jesús Díaz's Las iniciales de la tierra [The Initials of the Earth]
Fernando del Paso's Noticias del Imperio [News from the Empire]
Javier Marías' Todas las almas [All Souls]
Álvaro Mutis' La última escala del Tramp Steamer [The Adventures of Maqroll: Four Novellas]

The '90s
Álvaro Pombo's El metro de platinio iridiado
César Aira's La liebre [The Hare]
Enrique Vila-Matas' Suicidios ejemplares
Sergio Pitol's La vida conyugal
Ray Loriga's Lo peor de todo
Rafael Chirbes' La buena letra
Javier Tomeo's La agonía de Proserpina
Severo Sarduy's Pájaros de la playa [Beach Birds]
Gustavo Martín Garzo's El lenguaje de las fuentes
Manuel Vázquez Montalbán's El estrangulador
Fernando Vallejo's La Virgen de los Sicarios [Our Lady of the Assassins]
Ignacio Martínez de Pisón's El fin de los buenos tiempos
Germán Marín's El Palacio de la Risa
Francisco Casavella's Un enano español se suicida en Las Vegas
Rodrigo Rey Rosa's Que me maten si...
Alejandro Rossi's La fábula de las regiones
Fogwill's Cantos de marineros en La Pampa
Ramón Buenaventura's El año que viene en Tánger
Roberto Bolaño's Los detectives salvajes [The Savage Detectives]
Rodrigo Fresán's La velocidad de las cosas
Juan Villoro's La casa pierde
Rafael Gumucio's Memorias prematuras
Luis Mateo Díez's La ruina del cielo

The '00s
Sergio Chejfec's Boca de lobo
Belén Gopegui's Lo real
Isaac Rosa's El vano ayer
Mercedes Cebrián's El malestar al alcance de todos
Horacio Castellanos Moya's Insensatez [Senselessness]
Roberto Bolaño's 2666 [2666]
Pedro Lemebel's Adiós, mariquita linda
Colectivo Todoazen's El año que tampoco hicimos la Revolución
Mario Levrero's La novela luminosa
Sergio Bizzio's Era el cielo
Roberto Brodsky's Bosque quemado
Alberto Fuguet's Missing (una investigación)
Luis Magrinyà's Cuentos de los 90
Francisco Ferrer Lerín's Familias como la mía



More on this book later.
Until then, this post is dedicated to Obooki, who's hosting a Latin-American Readalong featuring three of these titles this year, and Rise, who's shared a number of juicy book lists of his own over the past several months.

lunes 27 de febrero de 2012

The Loser

The Loser [Der Untergeher] (Vintage International, 1993)
by Thomas Bernhard [translated from the German by Jack Dawson]
Austria, 1983

The Loser, the opening salvo in Bernhard's arts trilogy in which our cantankerous hero would later take aim at the theater (1984's Woodcutters) and painting (1985's Old Masters) in a sustained three-year broadside directed at creativity and the arts, is a spluttering 170-page rant about the despondency and envy felt by two childhood friends who are left scarred for life after having studied piano alongside the virtuoso Glenn Gould some twenty-eight years previously.  Fortunately, it isn't necessary to know anything about "The Goldberg Variations" or "The Art of the Fugue" to appreciate the unnamed narrator's own insult virtuosity: "What lousy teachers we had to put up with, teachers who screwed up our heads.  Art destroyers all of them, art liquidators, culture assassins, murderers of students" (18]).  Nor is it necessary to be a musician to appreciate the obsessive drive that separates the Glenn Gould types from the losers who are merely technically proficient: "The ideal piano player (he never said pianist!) is the one who wants to be the piano, and I say to myself every day when I wake up, I want to be the Steinway, not the person playing the Steinway, I want to be the Steinway itself...  All my life I have dreaded being ground to bits between Bach and Steinway and it requires the greatest effort on my part to escape this dread, he said.  My ideal would be, I would be the Steinway, I wouldn't need Glenn Gould, he said, I could, by being the Steinway, make Glenn Gould totally superfluous" (82, ellipses added).  Not bad, not bad at all as a sort of unforgiving excursus on madness and the quest for perfection--but at a grand total of four paragraphs in length, nowhere near as impeccably well-crafted and tight as the single-paragraph Wittgenstein's Nephew!  (Vintage International)

Thomas Bernhard

martes 21 de febrero de 2012

El escritor en el bosque de ladrillos. Una biografía de Roberto Arlt

El escritor en el bosque de ladrillos.  Una biografía de Roberto Arlt (Debolsillo, 2008)
por Sylvia Saítta
Argentina, 2000

Sylvia Saítta, profesora de Literatura Argentina del Siglo XX en la Universidad de Buenos Aires y la autora de aun más obras sobre el entorno cultural bonaerense que me gustaría leer en algún momento, nos ha regalado un trabajo de gran valor en El escritor en el bosque de ladrillos: una biografía mesurada, de confianza, y estudiosa sobre el controvertido autor de Los siete locos.  Si la biografía de Saítta es hasta cierto punto carente de anecdótas alocadas acerca de la vida personal de su sujeto, en su lugar la obra profundiza en algo más importante: el sentido en que el novelista, dramaturgo y periodista Arlt se retrató como un hijo de sus propias obras y un escritor de las calles mediante su escritura estilo "cross" a la mandíbula.  Como de costumbre en materias arltianas, me gustó saber algo de las rupturas estéticas entre Arlt y Borges.  Saítta, por ejemplo, comparte las anécdotas de cada escritor en cuanto a la creación de sus primeras obras publicadas y nos deja con esta observación llamativa acerca de "la muy precisa y nada romántica vinculación entre literatura y dinero" de Arlt:

  En este sentido, se diferencia notablemente de Jorge Luis Borges quien confiesa que, cuando en 1923 publicó su primer libro Fervor de Buenos Aires, no sólo pagó trescientos pesos por la edición sino que no se le ocurrió llevar ni un solo ejemplar a las librerías ni a los diarios, y recuerda que Arturo Cancela negaba que sus libros se vendieran mucho porque 'si los otros escritores se enteraban de eso pensarían que sus libros estaban escritos para el vulgo y que no tendrían ningún valor'.  Para Arlt, en cambio, escribir es hacerse pagar, y el dinero, como señala Ricardo Piglia, aparece como la garantía que hace posible la apropriación y el acceso a la literatura" (21-22).

Además de estos asuntos literarios más o menos esperados, a mí también me gustó la inesperada complejidad psicológica de la obra en general.  Dos anécdotas relacionadas con el viaje a Sevilla de Arlt en el año de 1935 serán suficientes para apreciar el sabor de esto.  En la primera, Saítta llama la atención a cómo el periodista de El Mundo sufrió "tres emociones violentas y inolvidables" (en las palabras de Arlt) al "tener en sus manos una carta original de Miguel de Cervantes Saavedra dirigida al rey, contemplar el retrato de Hernán Cortés y leer las cartas de Cristóbal Colón.  Con el material recopilado, escribe una nota de divulgacion para la revista El Hogar" (198).  En la segunda, Saíta hace hincapié en las calidades de Arlt como una especie de canalla entre canallas cuando describe cómo el cronista superó las protestas de unas gitana al ser fotografiadas: al confesar que "soy ladrón", el estafador bonachón Arlt ganó la partida y las gitanas "se dejaron retratar gratis" (198).  Quizá a causa del éxito de Saítta en lo que refiere a presentarnos un Arlt de carne y hueso en vez de un Arlt del mito, tengo que decir que era más y más difícil leer de los años últimos de Arlt y de cómo su desesperación económica se había "casi convertido en un personaje de sus propias ficciones" con su entusiasma para inventar medias eternas y cosas por el estilo (289).  En un epílogo conmovedor, la biógrafa sostiene que la última mujer de Arlt, entrevistada por el libro por Saítta, podía entender los sentimientos encontrados provocados por la vida del grosso ríoplatense: "Con mi marido me peleaba eternamente, y sin embargo pienso en él todas los días" (299).  (Debolsillo)

Sylvia Saítta

Perdiendo tiempo en línea hace poco, descubrí este enlace al programa de la materia para la asignatura de Literatura Argentina II enseñada por Sylvia Saítta en la UBA en 2011.  ¡Qué enloquecimiento genial! Por supuesto, este programa va a ayudarme mucho en lo venidero.

lunes 13 de febrero de 2012

Pereira Declares

Pereira Declares [Sostiene Pereira] (New Directions, 1996)
by Antonio Tabucchi [translated from the Italian by Patrick Creagh]
Italy, 1994

Pereira Declares begins with, ends with, and in reality even bludgeons you with its recurring use of the two words "Pereira declares," a stylistic tic presumably designed to emphasize the fact that Pereira's testimony isn't written by him but is mediated by another whose friend or foe status remains unclear.  Thankfully, the "Pereira declares" word truncheon is about the only thing I didn't appreciate about Tabucchi's otherwise graceful novella.  Pereira, I should point out, is a middle-aged ex-crime reporter turned culture page editor of a Catholic nightly trying to cloak himself in literature to protect himself from the political realities of 1938 Lisbon.  This is of course much more easily said than done, the proof of which is that the die is cast for a clash between the newspaperman's wish to remain apolitical and the encroaching fascism of Salazar era Portugal once Pereira enlists the aid of an idealistic young assistant to help prepare future obituaries for still living writers.  Having wasted two precious sentences on plot, I hope you'll forgive me if I return to more pressing matters.  To begin with, I really enjoyed Tabucchi's sweet, gentle humor here--like the way the widower Pereira's relationship with his dead wife's photo, which he speaks to and packs in his suitcase when traveling but "face upwards, because his wife had all her life had such a need for air and he felt sure her picture also needed plenty of room to breathe" (63), says so much about the character's loneliness without mocking his devotion to his spouse's memory.  I was also won over by the emotional pull and lyricism of moments like this one, where Pereira ecstatically reacts to dancing a waltz with the beautiful twenty-something Marta: "And during the dance he looked up at the sky above the coloured lights of the Praça da Alegria, and he felt infinitely small and at one with the universe.  In some nondescript square somewhere in the universe, he thought, there's a fat elderly man dancing with a young girl and meanwhile the stars are circling, the universe is in motion, and maybe someone is watching us from an everlasting observatory" (16-17).  Finally, in a work in which obituaries and optimism are constantly at one another's throats, it was refreshing to witness an example of the reader/writer struggling to remain true to himself/herself in trying circumstances: "He read over what he had written and found it nauseating, yes, nauseating was the word, Pereira declares.  So he chucked that page away and wrote: 'Fernando Pessoa died three years ago.  Very few people, almost no one, even knew he existed.  He lived in Portugal as a foreigner and a misfit, perhaps because he was everywhere a misfit.  He lived alone, in cheap boarding-houses and rented rooms.  He is remembered by his friends, his comrades, those who love poetry'" (21).  (New Directions)

Antonio Tabucchi